The demons are in the dollhouseThe Sydney Morning Herald wrote:WHEN Jeff Malmberg first came across Mark Hogancamp's photographs in New York art magazine Esopus, he had two thoughts. The first was ''wild photos''. The second: ''what a great story.'' Malmberg, a film editor, had been looking for a topic for a short film and Hogancamp's life story and his offbeat outsider art seemed a perfect fit. Not long after, he flew from Los Angeles to New York, to meet his would-be subject and film for a few weeks. Five years later, he showed the final edit to Hogancamp in a moving scene preserved on YouTube in which the artist tearfully tells his mother over the phone: ''Oh my god … He told my story so well. He told it exactly as I would have told it if I knew how.''
Complete story and photos are here:
http://www.smh.com.au/entertainment/mov ... 1y3ok.html
This is an article about a film made entirely in stop-motion using dolls as actors.
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Marwencol screens at 8pm on 10 May 2012, at Speakeasy Cinema, The Playroom, rear 413 Brunswick Street, Fitzroy, Victoria, Australia.Film Ink - Australia's Best Movie Magazine wrote:'Marwencol' stole a few hearts at its first screening at The Richmond Weekender series last month. Seats were scooped, ice-cream was licked, applause was rounded. This is a fantastic film and totally deserving of some extra attention. Needless to say there's a re-run!
Set in, and about an imaginary town called Marwencol, this inspiring documentary is about a man who chooses to build a new life, and a brave new world.
After Mark Hogancamp was gravely injured in a bar brawl he turned to art as a DIY therapy tool. Formerly an artist but unable to draw after his attack, Hogancamp sets about creating a fictional 1/6th scale World War II-era Belgian village, populating it with figurines of friends, family and his attackers and implanting an ongoing and painstakingly detailed narrative life into the miniature world.
The result is similar to a stop-motion film that conveys all the fear, pathos, adventure and hope for love that fills Hogancamp's 'real' life; a tableux that he captured in thousands of photographs, images that are filled with such stunning and often comic realism that they confound the scale of their models.
